Something about this track reminds me of Panam Percy Paul and Youssou N’Dour. Might be the anointing perhaps, or the influence Penam has on Nathaniel Bassey, and the fact that this track channels the ultra African sound like Youssou’s. This song’s theme is about the mighty and mysterious moves of God. I love its energy and how it celebrates the magnificent power available in the last days.

This fine mix of rock with a South African vibe on key B flat minor initially gives off the ambience of a party track with the studio sounds, but incites deep thought as Nathaniel Bassey vocalises throatily and with rasp as he sings ‘Olowogbogboro is turning things around’. He turns up an African accent on the line ‘ko s’oun t’o le se, God’. The lyrics are very literal, spiced with loads of Nigerian mannerisms, and the lead guitar plays the star on this piece, making some amazing moves after the intro.

The chorus is bright and nice. I like the ‘nahs’ and ‘yeah yeahs’ from Nathaniel Bassey, sounding like pop culture has a teensy weensy influence on someone. I kid. But it was nice.

Wale Adenuga with his Yoruba feel to his verse both in lyrics and delivery, albeit needing a little more pitch stability, gives calculated energy to the song.

The bridge is an affirmation of the victory we have in Christ. I can almost hear Titi Oloyede’s raspy voice shining through the back ups. Also, the trumpet which is Nathaniel Bassey’s forte does melodious runs, reminding me of its similar effect in Ty Bello’s ‘Holy Ghost Air’. Nathaniel increases his rock-esque energy here, surely getting anyone listening to this track on his feet. The ‘ohs’ at the outro would definitely reverberate in the mainstream of my mind for days.